【作者】 施佳慧；

【导师】 张节末；

【作者基本信息】 浙江大学 ， 美学， 2023， 博士

【摘要】 “一镜到底”电影美学研究是以整体呈现“一镜到底”风格的电影为研究对象,以实证研究为主要方法论展开的综合电影研究。“一镜到底”作为一种兼具数字时代技术风格美学与实验精神的形式风格,在电影史中从未缺席,如今更多地从先锋实验进入到大众审美领域,并且在跨媒介语境的前沿发挥着它的承续性与创新力。因此,本文中“一镜到底”风格的电影定位于,进入主流院线放映的、整体呈现出镜头不间断运动、场面衔接不依靠剪辑的影片。在商业院线上映的“一镜到底”风格战争/战斗/动作题材电影,如《1917》,在时空建构、情节结构、视觉逻辑等方面都强化了电影与游戏的媒介融合形态。此外,这些影片将传统地理信息系统中从“点”、“线”、“面”的地图空间过渡到知觉地理空间的描述方式,通过空间符号的提示使得观众跟角色一起从基于实体对象化符号逐渐形成关于实际空间的格局认识,在参与的具体过程中使得观众构建起与角色相近的动觉共鸣。使得电影的游戏化“观看”不仅转变为“知觉”,更转变为一种象征性的交互。以《迷失伦敦》为代表的,在“一镜到底”风格中呈现的院线直播电影,开启了媒介融合的新局面,也复现了本雅明式的神圣“光晕”。一次限量的从拍摄、制作、影像传输到影院放映同时完成的“征服”事件让影片与生俱来了原真性,仪式感在克服距离的限量会面中产生。将电视、院线电影、戏剧表演、直播、网络实时评论平台等媒介属性融于一身后,与它同时诞生的是一种全新的在场性。在这其中,“一镜到底”的风格形式是确保“光晕”生成的关键。作为首次极大程度上呈现“一镜到底”形式的中国院线电影,《路边野餐》,用不同的结构原则支配连续场面调度的“参数”形式,使得其纪实的形式初衷陌生化。影片让重组的电影性与发挥想象力的文学性相遇,用特有的空间逻辑和影像逻辑在每个镜头和诗句之间形成指涉和工整的对照,释放一种类似于读者与文本世界“想象性关系”的感官体验,生成区别于靠数字技术营造的沉浸感。这种强调主体与文本之间图式隐喻性情感空间的建构,给了观众介入影像的路径,也体现了一种媒介叙事摆脱资本运营的产业视角。为探寻与传统文化的联系提供了一种创作思路。总之,“一镜到底”电影蕴含着丰富的时代精神和美学内涵,壮大于数字影像时代的它们彰显着时下最新的技术成果和立意。它们既可以继承早期电影长镜头的美学语境,极端放大建构连贯性的传统手法,前所未有地加强观众对于他人身体形象、心理结构的认同,彰显询唤的技术性;也可以通过不同技术要素、不同实践路径以及对不同媒介属性进行借鉴和重组,用其朴素无华的戏剧般的“前电影性”影像探索“有意味的形式”。但无论是进行了上述哪一种尝试,在主流院线上映的电影中,“一镜到底”形式之下看似逼真的叙事时间却是虚拟的在场,在场性的空间表达凌驾于叙事时间之上,空间的连续性为观众提供了一种理解世界的真切方式。更多还原

【Abstract】 Aesthetic research on "one-shot"films is a comprehensive study of films that generally present the "one-shot" style.It is a comprehensive film study with empirical research as its main methodology.As a formal style that combines the aesthetics of technical style and the spirit of experimentation in the digital age,"one-shot" has never been absent in the history of cinema,but nowadays,it is more and more entering from the pioneering experiments of cinema to the broad public view and exerting its inheritance and innovative power in the frontier of cross-media context.Therefore,in this paper,the"one-shot" style film is defined as a film that is screened in mainstream cinemas,showing uninterrupted camera movement and not relying on editing for scene sequences.The "one-shot" style war/combat/action films released in commercial theaters,such as "1917",have strengthened the media fusion of film and game in terms of time and space construction,plot structure and visual logic.In addition,these films transition from the traditional GIS map space of "points","lines" and "surfaces" to the description of perceptual geographic space,and through the prompting of spatial symbols,the audience gradually forms a pattern of understanding about the actual space together with the characters based on physical objectified symbols,and in the concrete process of participation,the audience builds a kinesthetic empathy like characters.The gamified"viewing" of the film is not only transformed into "perception",but also into a symbolic interaction.With "Lost in London" as the representative,the live theatrical film presented in the style of"one-shot" has opened up a new situation of media integration and reproduced the Walter Benjamin’s sacred"aura".A limited number of"conquest" events from shooting,production,video transmission to theatrical screening at the same time gives the film an innate authenticity,and a sense of ritual is created in a limited number of meetings overcoming distance.By combining the attributes of television,theatrical films,theatrical performances,live streaming,and real-time online commentary platforms,a new kind of presence is born.In this regard,the stylistic form of "one-shot"is the key to ensure the creation of "aura".As the first Chinese theatrical film to present the "one-shot" format to a great extent,"Kaili Blues"uses different structural principles to govern the"parameters"of mise-en-scène,making its documentary form unfamiliar to the original intention.The film allows the cinematic nature of restructuring to meet the literary nature of imagination,using a unique spatial and visual logic to create references and neat contrasts between each shot and verse,releasing a sensory experience like the reader’s"imaginative relationship" with the world of the text,generating a sense of immersion different from that created by digital technology.This emphasis on the construction of a metaphorical emotional space between the subject and the text gives the audience a path to intervene in the images and embodies a media narrative free from the industrial perspective of capital operation.It provides a creative idea for exploring the connection with traditional culture.In short,"one-shot"films are rich in the spirit of the times and aesthetic connotation,and they are growing in the era of digital imaging,highlighting the latest technological achievements and intentions.They can inherit the aesthetic context of early cinematic long shots,extremely amplifying the traditional technique of constructing coherence,strengthening the audience’s identification with the body image and psychological structure of others as never before,and manifesting the technicality of inquiry;They can also explore "significant form" through different technical elements,different practice paths,and the reorganization of different media properties with their simple and unadorned theatrical "pre-cinematic" images.But no matter which of the above attempts are made,the seemingly realistic narrative time in the mainstream theatrical release is a virtual presence in the form of "one-shot".The spatial expression of presence overrides the narrative time,and the continuity of space provides the audience with a realistic way to understand the world.更多还原